Video Quality Some Interesting Discoveries
So, it looks like I am a B-Raw convert, probably at Q5 (constant quality) compression.
In C4k on the GH5s, drawing as needed can range in compression from 21 to 58 MB/s, compared to 4k ProRes 422 HQ at a flat 117 MB/s (I used 1080 for my test at 27 MB/s).
That is a manageable file size with the added benefit on the GH5s of full sensor width C4k, so cropping etc are also possible.
Some reviewers, rare unfortunately because constant quality is harder to quantify, consistently state that the file sizes are smaller overall, large only as needed and plenty good enough for most uses. Constant quality is better than constant bit rate 8:1 (15:1 to 6:1 (as required), but vastly smaller than 5:1 compression at a flat 20 mb/s.
The flexibility of the files in processing is really very good, especially in the highlights and white balance. I do not get the full B-Raw benefits in processing, but the file flexibility is there and what is missing from the RAW options is available from normal processing.
My wife in home improvement mode, standing up in the name of research. This footage was compared to some ProRes and the difference in quality of fine details and post processing was huge. The file size was about 40% larger (the files were the same size, but the ProRes was longer by about 40%). GH5s, BMVA, Hope 25mm, Smallrig 60w into a reflector, exposed for the lit side of her face (green with false colour), white balance I must admit was neglected (3800 by mistake) and fixed with little trouble (the light was set to 5600, so I simply changed it to the same). The skin tones were better than the ProRes, that did not handle the WB error well.
Pans are smooth with little or no “judder” (a long term Bugbear of mine), colours natural and the exports are much closer to what I see on the screen (another issue with video editing).
There is still room for anything from Standard, Flat and Natural Rec709 modes, some V-Log and ProRes, but to my eye and for my needs, B-Raw Q5 is it. I may need to get another 12G for matching cams and I will also probably upgrade the S5II to B-Raw support for that one seems to be well supported.
Another change and one that may be even more exciting is adopting false colours.
Seriously folks, it took a New York second to learn and works intuitively. To nut-shell it, green-greys are middle grey (green = middle grey or skin tones) or there abouts, pink-blues are under, yellow-reds are over. In RAW you are well in the ball-park. Unlike true colours, they are simplified and consistent. You can expose to taste and by eye, something I struggle with using histograms or even wave forms.
So, B-Raw flogs V-Log for safety and versatility as well as being easier to “eye-ball” with exposure and white balance, the cost being occasionally larger files, but sometimes not (according to Black magic, Q5 maxes out at about the same as PR 422 Lt, but matched HQ for quality. Also colours are easier to use than other forms of exposure control.
These two changes fix most of my issues.
At the moment my G9II is off for warranty repair, a front function button not working, but oddly, I am not missing it. No stabe on the rigged GH5s is interestingly not an issue, the S5/S5II’s getting more love and I would even use a G9 mk1 in ProRes at a pinch*.
My learning curve with DaVinci has been challenging to say the least, but I am getting there and using B-Raw actually makes the whole thing easier.
*Given my time over, I may even have just bought two 3G’s for my old G9’s, but I am glad I have grown here.